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Augustin Katz-Laforcade

@augustinkatz_

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Currently:
-Small acts of faith, Solo-show @zaza___milano___napoli
-À fleur de peau/Under the skin @montpelliercontemporain

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After Joy, 2026
Oil on panel, 70 × 240 × 5 cm by @augustinkatz_

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15 days ago

1- « Scherzo no.1 _ Cantabile »
2- « Scherzo no.2 _ Quasi niente »
3- « Scherzo no.3 _ Senza risposta »

2026, Oil on panel, 20 × 20 × 4 cm

installation view from « Small acts of faith » at @zaza___milano___napoli by @augustinkatz_

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21 days ago

(...) Playing with toys is not a serious pursuit. Although, free from the weight of
social dos and don’ts, it is only a child who can see through the surrounding bullshit.
In Volker Schlöndorff’s screen adaptation of The Tin Drum (1979), the film follows the life of Oskar, a preternaturally gifted child and his toy drum, whose deafening beat signals his young owner’s growing displeasure or distress. Similarly, it is only young Danny in The Shining (1980), spinning down the haunted hallways of the Overlook Hotel on his three-wheeler, who is attuned to the presence of ghosts, evil and demonic possession. What if I were to tell you though, that this is all an act?

Augustin Katz has woven together an intricate musical partita of shady characters, suspicious shadows, sickening perspectives, queasy colours and dead ends. A drummer boy beats to his own rhythm; a black-clad dancer maintains fourth position even though she stands trapped between two walls; a rickety staircase spells out the probability of a broken neck; and what I take to be a conductor, faceless, is inserting the thinnest of batons, fear-inducing instrument of power and authority, into the spongey surface of his crown. All fragmented collateral of a would-be music box, but with the innocence stripped away. Thick as an icon and painted on wood, these works carry the stigma of mythological Sirens, unable to fully break free from the constraints of pigment, discipline, framing and technique that govern all painting, no matter how audaciously free, so instead they seduce the viewer into the trap of the author’s making. A determined voice resonates, but it remains unclear as to who is the hunter and who is the prey, the point of a pursuit being that it can take any direction.

To believe in something, one has to play along.

- Anya Harrison

pictured: "Gold bell rings alone", 2026
Oil on panel, 50x55x4cm by @augustinkatz_

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25 days ago

Thanks for coming to the opening of Augustin Katz, Small Acts of Faith taken in Milan, Italy by @augustinkatz_

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a month ago

AUGUSTIN KATZ
Sans-titre, 2024
Sans-titre, 2024 by @augustinkatz_

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3 months ago

Untitled, 2026
Oil on linen, artist frame
165x155cm (x2)

Showed at the occasion of : À fleur de peau/Under the skin,
A show curated by @anyacharrison & @alexis__loisel_montambaux at @montpelliercontemporain

Produced by @montpelliercontemporain
Pictures : MOCO/Pauline Rosen-Cros by @augustinkatz_

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4 months ago

It’s been a delight to be part of « À Fleur de Peau / Under the Skin » at @montpelliercontemporain , curated by the mischievous and brilliant minds of @anyacharrison and @alexis__loisel_montambaux .

I couldn’t have wished for a better setting in which to show this rather different kind of work. Nor for better company.

Until next time

« Prima Scena » 2026
Mixed media, found objects, light (sound created in collaboration with @lowlov__ )

This piece has been produced by @montpelliercontemporain
Special thanks to the technical team

Photo credit: MOCO/Pauline Rosen-Cros taken in MO.CO. Montpellier Contemporain by @augustinkatz_

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4 months ago

Augustin Katz & William Basinski at Galerie Derouillon, Paris
“Unentitled (study for a room)”
Curated by Guillaume Blanc-Marianne
May 20 – June 20, 2026
Photos: Courtesy of the artists and Derouillon, Paris
@galeriederouillon @augustinkatz_ #williambasinski @maculabulligen taken in Paris, France by @augustinkatz_

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4 months ago

[ON VIEW] Augustin Katz & William Basinski → Unentitled (study for a room)
Curated by Guillaume Blanc-Marianne

May 20th - June 20th, 2026
Galerie Derouillon, Haut Marais - 38 rue Notre Dame de Nazareth, 75003 Paris

‘’A heavy curtain falls and a whole world is swallowed whole, in this theater "in which fundamental principles appear fleetingly, like dolphins when they bob their heads up above the water before diving back down into the dark depths." The stage is deserted; the actors, evaporated. Settled in the middle of it all like an old wrinkled dog with an endless tear in its eye, only melancholy remains, holding its ground in this atmosphere of dilapidation. It occupies everything — immovable, marmoreal, filling the space with its gravity. Melancholy doesn't talk much; it seeps, makes itself felt; at best it rambles, goes in circles. Like that woman who is now nothing but the ghost of a star who has been booed off the stage, petrified in the pose she meant to make her signature, which has since become her swan song; paralyzed in a panic, in an ecstasy she never quite knew how to perform. […]

It is midnight in the century; all have gathered for the encounter of Study for a Room, a magical, archetypal theater of humanity and of Unentitled, a desperate contemplation of the madness of the mighty ones and the helplessness of their victims. Here they are, then, in this small ballroom, misted with fallen memories and anonymous revenants, where at some point one might need to close one's eyes in order to see more clearly through the thickness of time, and to take the measure of its wear. In any case, let us admit it: images and melodies are a matter of ghosts, of haunting — as are the memories and dreams they insist on haunting in turn. They are "the remnant, the trace of all that those who came before us hoped and desired, feared and repressed."6 There will always be a thin layer of dust to recall it — the kind that settles on a gramophone as it chokes and sputters out a little music full of scars, which we shall listen to as "the funereal ostinato of our time."[…]’’

Excerpt from Unentitled (study for a room) by Guillaume Blanc-Marianne taken in Rue Notre Dame De Nazareth 75003 Paris by @augustinkatz_

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4 months ago

AUGUSTIN KATZ (@augustinkatz_) & WILLIAM BASINSKI (@musex1)
Unentitled (Study for a Room)
curated by Guillaume Blanc-Marianne (@maculabulligen)
at Galerie Derouillon (@derouillon) 20.V.26 – 20.VI.26

paintings by Augustin and a 1982 unpublished music piece by William Basinski (Unentitled)

Il est des mélodies qui semblent verser des larmes – des musiques mornes, au fond, éprouvées par la généralisation de la cruauté. Il en est une qui commence par un long crescendo et s’exténue dans un decrescendo tout aussi long, comme si quelque chose s’avançait fatalement, en dégrippant peu à peu l’« énorme congestion du sentiment » qui l’accable. Engluée dans la matière même de l’air, elle succombera toutefois à la dissipation, sans qu’on ne sache comment la retenir. Cette mélodie-là parle de la liquidité des souvenirs et sonne comme une blessure ; elle procède de la pneumatique des mirages et dit la solitude sur la scène de la tragédie, le vacillement fébrile d’une lumière et la profondeur du velours, le plus petit séisme qui soit et l’effondrement d’un monde.

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There are melodies that seem to weep — mournful musics, essentially, worn thin by the extension of cruelty. One such melody opens on a long crescendo and exhausts itself in an equally long decrescendo, as though something were advancing inexorably, slowly loosening the « enormous congestion of feeling » that weighs it down. Mired in the very substance of air, it will succumb at last to dissipation, with no one knowing how to hold it back. This melody speaks of the liquidity of memory and chimes like a wound; it moves by the pneumatic of mirages, and tells of solitude upon the stage of tragedy; the feverish flicker of a single light and the depth of velvet, the smallest possible tremor in the earth and the collapse of an entire world.

Many thanks @musex1 @caballe_ro @younavirus @cyrusgoberville by @augustinkatz_

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5 months ago

[NOW OPEN] Augustin Katz & William Basinski → Unentitled (study for a room)
Curated by Guillaume Blanc-Marianne

May 20th - June 20th, 2026
Galerie Derouillon, Haut Marais - 38 rue Notre Dame de Nazareth, 75003 Paris

‘’There are melodies that seem to weep — mournful musics, essentially, worn thin by the extension of cruelty. One such melody opens on a long crescendo and exhausts itself in an equally long decrescendo, as though something were advancing inexorably, slowly loosening the "enormous congestion of feeling" that weighs it down. Mired in the very substance of air, it will succumb at last to dissipation, with no one knowing how to hold it back. This melody speaks of the liquidity of memory and chimes like a wound; it moves by the pneumatic of mirages, and tells of solitude upon the stage of tragedy; the feverish flicker of a single light and the depth of velvet, the smallest possible tremor in the earth and the collapse of an entire world.

William Basinski found it at the bottom of a drawer, where it had been sleeping since 1982, and named it Unentitled: unassigned, unfounded — illegitimate, in a sense. […]

Augustin Katz, for his part, went rummaging through his dreams to give this melody a stage — to parade it through a space where spectacle becomes ritual and the script of the tragic yields to the magic of ceremony. The stage, and by extension the theater, is a place of rite, sacrifice, renunciation, catharsis. It is a place of cruelty and jubilation, one that has never quite shed the prospect of killing as it was once lived out in ancient arenas. […]’’

Excerpt from Unentitled (study for a room) by Guillaume Blanc-Marianne

@augustinkatz_ @maculabulligen @musex1 taken in Rue Notre Dame De Nazareth 75003 Paris by @augustinkatz_

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5 months ago

[OPENING TODAY] Augustin Katz & William Basinski → Unentitled (study for a room)
Curated by Guillaume Blanc-Marianne

Opening May 20th - 5 to 8p.m
Galerie Derouillon, Haut Marais - 38 rue Notre Dame de Nazareth, 75003 Paris

Drawing on a transgenerational and transmedial dialogue, this exhibition brings together the young Parisian painter Augustin Katz (born 1995) and the American legend of so-called "accidental" music, William Basinski (born 1958). For both artists, the accidents of memory and its erosion call forth a meditative state in which mental wandering and its haze verge on hallucination.

Their collaboration can be summarized as follows: the first prepared sketches which he sent to the second; the latter responded with an unreleased piece from 1982 that came to mind as he spent time with those paintings — a loop of approximately 40 minutes, introduced and concluded by the long fade-ins and fade-outs that are the composer's signature. Inspired by Augustin Katz's paintings, he titled it Unentitled, unassigned, in a sense, or, in a more radical reading, unqualified, unfounded, illegitimate. According to Basinski, the composition evokes "a moment of intense shock reverberating through time and memory" — but not only that: through its title, it also keeps a watchful eye on the leaders who are currently ransacking the world as though it were merely their private theatre in which to unleash their impulses and indulge their appetite for excess.

Guillaume Blanc-Marianne

Galerie Derouillon, Haut Marais
38 rue Notre Dame de Nazareth, 75003 taken in Rue Notre Dame De Nazareth 75003 Paris by @augustinkatz_

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5 months ago